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galleries Moore: a glass act REVIEW Jena Woodburn Tom Moore uses traditional glass-working techniques to create fanciful creatures that are strange combinations of plants, animals and machines. From the Flying Potato Fish Car to Icarus Pickle, from Carrot Angelmobile to Spud Boy, Moore has fashioned double- headed birds sprouting leaves and sporting carrot noses, potatoes with legs and eyes, and happily symbiotic car-plant hybrids. Rather than beaching them on the white gallery wall, Moore also creates elaborate habitats for his creatures, settling them in environments constructed with corrugated cardboard, AstroTurf and cotton wool clouds. The gallery takes on a chaotic appearance as it is filled with creatures that float in waist-high ponds strung with bunting, race along a desert track, and are suspended from the sky-blue Flying Rain Drop Wall. In the recent ABC documentary, Tom Moore: Glassorama, which screens in a corner of the gallery, Moore describes seeing dioramas in museums as a child and being taken by the idea of the “immersive environ- ment”. Rather than merely an accurate display tool, it was the sense of spectacle inherent in the diorama to which Moore responded, and which today finds such apparent application in his work. The compulsion that is evident in the Moore is More Tom Moore The JamFactory, Gallery 1 Lions Arts Centre, Morphett Street Until April 19 W: www.jamfactory.com.au repetitive depiction of fantastical, imagined creatures and their infinitely detailed worlds prompts some comparison with ‘outsider’ art. However, Moore’s work couldn’t be classed as such – the technical ability and professional gloss are too present, while Moore’s humorous and irreverent attitude to his work is a characteristic not often found amongst the earnest, obsessive natures of true ‘outsider’ artists. Yet despite the apparent whimsy of the fabrications, they are also a representa- tion of Moore’s hopeful engagement with environmental issues. Glassorama recounts the story of Moore seeing an abandoned truck almost completely taken over by plant life, in what seems an unequivocal illustration of the eventual “triumph” of nature. By putting together “things that shouldn’t go together” – such as potatoes, legs and wings – but which nevertheless successfully co-exist, Moore highlights nature’s resourcefulness, and hence its ability to recover from damage already inflicted. 140 Barton Tce West, North Adelaide Ph. 8267 2933 Fax. 8239 0148 www.greenhillgalleriesadelaide.com.au Tues- Fri 10-5 Sat- Sun 2-5 Now showing In Situ Trena Everuss A much-anticipated exhibition of Trena’s pastel drawings from her voyages around the world, conveying her mastery of the medium. Concludes 14 March 09 45 Osmond Terrace, Norwood www.acsa.sa.edu.au Phone: 08 8364 2809 Opening Hours: Monday - Friday 9-5, Saturday 11-4 During school terms: Mon - Thurs 9-7:30pm Pink Panel, Chiang Rai, 2007, pastel on arches paper, 710 x 870mm JAN SHONE Penny’s Hill Winery, McLaren Vale Concludes 25th March TANDANYA A Story to Tell By Laurel Nannup Now showing until 19 April,2009 FREE ENTRY Laurel Nannup, Sliding Sister, 200, Etching, ink on paper,58 x 58cm, Photograph: Brett Nannup Tandanya National Aboriginal Cultural Institute Cnr Grenfell St and East Tce, Adelaide Ph: 08 8224 3200 Open 7 days 10am – 5pm, www.tandanya.com.au JAPANESE WOODBLOCK PRINTS from the MEIJI PERIOD (1868-1912) from the collection of David Button at HEYSEN FRAMES 10 Finnis Street North Adelaide. Friday 6th March to Sunday 15th March. Closed Monday 9th SAM HARRISON Level 1, Hilton Adelaide, Victoria Square Exhibition concludes 19 May and don’t forget ... RICHARD MORECROFT and SCOTT EAMES Greenhill Galleries Adelaide concludes 17th March Above: Carrot Angelmobile, Hot joined, blown and solid glass 21 x 27 x 11cms; below, Full Pond, Hot joined, blown and solid glass, mixed media, dimensions variable. March 6 - 12, 2009 37 The Independent Weekly www.independentweekly.com.au Sam Harrison, Portrait of Tim Edwards, oil on tarp, 150 x 120cm